{"id":10003,"date":"2019-08-19T16:00:29","date_gmt":"2019-08-19T09:00:29","guid":{"rendered":"https:\/\/arkipel.org\/?p=10003"},"modified":"2019-08-22T15:14:36","modified_gmt":"2019-08-22T08:14:36","slug":"tracing-the-practices-and-framing-of-bromocorah-in-films","status":"publish","type":"post","link":"https:\/\/arkipel.org\/tracing-the-practices-and-framing-of-bromocorah-in-films\/","title":{"rendered":"Tracing the Practices and Framing of Bromocorah in Films"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”Menyelami Bromocorah” css=”.vc_custom_1566274502999{margin-bottom: 0px !important;}”]\n
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Terkadang, mendengar istilah \u201cbromocorah\u201d terasa menggelitik pikiran. Hampir semua dari kita mengenali istilah tersebut, namun kita memiliki pandangan masing-masing terhadapnya, sehingga mungkin penerjemahan secara definitif akan bromocorah merupakan hal yang tak mungkin. Selayaknya seni, diskursus bromocorah juga selalu bergerak dinamis dan progresif. Setelah berdiskusi dan menyamakan persepsi tentang bromocorah dan posisinya pada konteks sosio-kultural pada panel 1, maka panel 2 diharapkan dapat memantik dan membuka ruang diskusi kebromocorahan yang tertuang dalam filem, baik dalam praktik maupun bingkaiannya.<\/span><\/p>\n

\"\"

Edwin memaparkan materinya dalam Panel 1 Forum Festival ARKIPEL bromocorah.<\/p><\/div>\n

Panel 2 Forum Festival dimulai pukul 12:30 WIB di GoetheHaus, Goethe-Institut Indonesia. Panel yang bertajuk “Bromocorah dalam Estetika Filem” ini menghadirkan tiga pembicara, yaitu <\/span>Edwin <\/b>\u2013<\/span> pembuat filem; <\/span>Garin Nugroho <\/b>\u2013<\/span> pembuat filem; dan <\/span>Manshur Zikri<\/b> \u2013 kritikus dan kurator filem. Panel ini dimoderatori oleh <\/span>Dhuha Ramadhani<\/b>.\u00a0 <\/span>Sebagai pembicara pertama pada panel ini, Edwin mencoba mengingat kembali bagaimana filem-filem pendek Indonesia pertama lahir, ditayangkan, dan seperti apa pengaruhnya terhadap generasi perfileman selanjutnya. Filem pendek yang muncul pada era 1970-an pada awalnya merupakan kritik terhadap bentuk filem yang lebih mapan, yakni filem panjang yang tayang di bioskop arus utama<\/span>.<\/span><\/i> Edwin juga sedikit menuturkan peran tokoh-tokoh seperti Gotot Prakosa dan Sardono dalam kemunculan filem pendek di era tersebut. Di era ini muncul pula berbagai komunitas akibat adanya kebutuhan akan ruang alternatif bagi perfileman. Kineklub DKJ merupakan salah satu komunitas menonton yang muncul dan menjadi ruang alternatif bagi sinema Indonesia kala itu. Seiring berjalannya waktu, filem pendek kemudian berangsur-angsur menjadi mapan, salah satunya akibat institusionalisasi sistem lewat sekolah filem. Periodisasi perkembangan eksperimentasi ini berlanjut hingga tahun 2000-an. Menurut Edwin, periode ini semacam melompat satu dekade karena pada tahun 1990-an perfileman Indonesia mengalami stagnansi. Dipermudah dengan adanya teknologi video, akses yang makin terbuka, dan wadah festival yang makin marak, maka produksi filem pendek\u2014terutama oleh komunitas\u2014makin menjamur meski keterbatasan teknologi kadang tetap menjadi kendala. Teknologi video kemudian makin mengarah pada era digital dengan sokongan internet yang kemudian menjadi aspek vital dalam produksi dan distribusi filem pendek. Produksi dan distribusi filem juga menyesuaikan perilaku penonton yang berlatar belakang <\/span>digital native, <\/span><\/i>tingkat paparan <\/span>(exposure)<\/span><\/i> menjadi lebih tinggi. Baik pembuat maupun penonton filem memiliki kebebasan untuk meredefinisi sinema. Akan tetapi menurut Edwin, hal ini masih kurang diimbangi dengan paparan terhadap sejarah sinema sehingga kesinambungan dengan generasi sebelumnya pun kurang.<\/span><\/p>\n

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Garin Nugroho memaparkan materinya tentang praktik pembuatan filem yang ia lakoni.<\/p><\/div>\n

Garin, pada gilirannya sebagai pembicara kedua, menceritakan tentang praktik pembuatan filemnya yang dalam pandangannya bersifat kebromocorahan. Ia merasa bahwa istilah bromocorah memiliki muatan yang sangat paradoksikal\u2014ia berada di pusat tetapi juga di pinggiran, bersifat sentral dan desentral. Untuk membuat dan mendistribusikan filem, orang-orang yang terlibat haruslah menjadi bromocorah dalam praktiknya; mencari jalannya sendiri mengakali sistem. Ia memaparkan beberapa contoh dari karyanya sendiri, seperti <\/span>Surat Untuk Bidadari<\/span><\/i> (1994) yang prosesnya mendorong Garin menjadi semacam bromocorah akibat sulitnya membuat filem di era Orde Baru. Distribusinya pun tak luput dari kebromocorahan, yaitu mencari cara sendiri untuk mengirim filemnya ke luar negeri akibat sulitnya mendapat izin atau persetujuan oleh pemerintah pusat, misalnya lewat kedutaan.<\/span><\/p>\n

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Manshur Zikri memaparkan materi presentasinya tentang bingkai bromocorah dalam estetika sinema.<\/p><\/div>\n

Pembicara terakhir, Manshur Zikri, dalam presentasinya menjelaskan tiga poin bromocorah dalam estetika filem: bingkai bromocorah, bromocorah yang terbingkai, dan bromocorah yang membingkai. Zikri menjadikan literatur Ong Hok Ham dan Mochtar Lubis sebagai kerangka dasar pemikiran bromocorah. Dalam konteks bromocorah sebagai bingkai, persoalan yang dihadirkan ialah tentang gagasan yang diterjemahkan sebagai bahasa visual. Persoalan bahasa ini dieksplorasi lebih jauh dan tidak lagi sekedar mengulik medium saja. Dalam konteks bromocorah yang terbingkai, yakni bagaimana bromocorah tertangkap oleh bingkaian-bingkaian pembuat filem, Zikri menghadirkan salah satu filem karya Cinema Novo sebagai contohnya, yaitu filem <\/span>Black God White Devil<\/span><\/i> karya Glauber Rocha. Zikri mengambil sebuah adegan dalam filem tersebut sebagai contoh yang dapat menggambarkan bagaimana sinema membingkai bromocorah. Akan tetapi menurut Zikri, pada pasca era Orde Baru ketika rezim tidak lagi menjadi musuh bersama, bromocorah dalam bingkai perfileman Indonesia cenderung bergerak menjauh dari yang diharapkan, ia kembali lagi pada narasi. Namun menurut Zikri, eksplorasi bahasa visual berhasil kembali dihadirkan oleh Hafiz dalam karyanya yang berjudul <\/span>Alam Syuhada<\/span><\/i> (2005).<\/span><\/p>\n

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Hafiz mengajukan pertanyaan kepada Edwin dan Garin dalam sesi tanya jawab.<\/p><\/div>\n

Setelah pembicara memaparkan materi masing-masing, Hafiz mengajukan pertanyaan pada Garin dan Edwin tentang sifat paradoks bromocorah. Menurut Hafiz, paradoks ini telah ter-reduksi karena ia selesai pada kejadian filemnya. Maka Hafiz bertanya apakah menurut Garin dan Edwin paradoks ini muncul karena praktik pembuatan filem mereka yang selalu menyiasati situasi sosial-politik industrinya sendiri, atau karena mencari sesuatu yang lebih mudah. Garin kemudian menjawab bahwa ia tidak memiliki kapasitas untuk menjawab pertanyaan Hafiz selaku pembuat filem. Pihak yang seharusnya menjawab adalah kritikus filem yang mampu mendalami praktik-praktik yang dilakukan pembuat filem di Indonesia.<\/span><\/p>\n<\/div>\n<\/div>\n[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503218961-2-58″][vc_column_text title=”Diving into Bromocorah” css=”.vc_custom_1566274907970{margin-bottom: 0px !important;}”]\n

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Sometimes, hearing the term “bromocorah” tickles the mind. Most of us recognize the term, but we all have differing views of it, so it is difficult to define the term of bromocorah itself. Like art, the discourse of bromocorah is constantly moving dynamically and progressively. After the discussion and synchronization of perspective on the first panel, the second panel aims to ignite and open a space to discuss bromocorah in films, both in its practices and framings.<\/span><\/p>\n

\"\"

Edwin is elaborating his presentation in panel 2 of Forum Festival of ARKIPEL bromocorah<\/em>.<\/p><\/div>\n

The second panel of Forum Festival started at 12:30 pm at GoetheHaus, Goethe-Institut Indonesia. The panel titled “Bromocorah in Film Aesthetics” invited three speakers: <\/span>Edwin <\/b>\u2013 filmmaker; <\/span>Garin Nugroho <\/b>\u2013 filmmaker; and <\/span>Manshur Zikri<\/b> \u2013 film critic and curator. The panel was moderated by <\/span>Dhuha Ramadhani<\/b>.<\/span><\/p>\n

As the first speaker of the panel, Edwin tried to recall how short films was first born, screened, and how they affected the next generations of Indonesian cinema. Short films on the 1970s were initially a form of criticism towards the more established form of cinema: the feature films screened in mainstream cinemas. Edwin also briefly explained the roles of figures like Gotot Prakosa and Sardono on the emergence of short films on the said era. In this era, film communities also emerged due to the needs of alternative space for cinema. Kineklub DKJ was one of the communities that emerged and became an alternative space for Indonesian cinema at the time. Over time, short films gradually grew to be more established; one of the causes was due to the institutionalization of the system through film schools. Periodization of the development of cinema experimentation continued until the 2000s. According to Edwin, the period jumped a decade because in the 1990s Indonesian film industry was stagnated. Facilitated by video technology, the increasingly open access, and the presence of more film festivals, the production of short films \u2013 especially by the community \u2013 were progressing even if technological limitations sometimes remained as obstacles. Video technology then led to the digital age with the support of the internet, which becomes a vital aspect in the production and distribution of short films. Film production and distribution are also adjusting to the behavior of the digital native audience; the level of exposure spikes higher. Both filmmakers and viewers have the freedom to redefine cinema. However, according to Edwin, there is less exposure to the history of cinema, and it causes a lack of continuity between generations of filmmakers.<\/span><\/p>\n

\"\"

Garin Nugroho is explaining his filmmaking practices.<\/p><\/div>\n

Garin, in his turn as the second speaker, told about his filmmaking practices which, in his view, were bromocorah. He felt that the term bromocorah had a very paradoxical content \u2014 it is at the center but also the periphery, central and decentralized. To make and distribute films, the people involved must be bromocorah in practice; finding its own way outsmarting the system. He explained several examples of his own work, such as the <\/span>Surat Untuk Bidadari<\/span><\/i> (1994) whose process encouraged Garin to be bromocorah due to the restraints on filmmaking during the New Order era. Its distribution also could not escape from bromocorah, finding its own way to submit his films abroad due to the difficulty of obtaining permission or approval from the government, for instance, through embassies.<\/span><\/p>\n

\"\"

Manshur Zikri elaborate his presentation about the frame of bromocorah in cinema aesthetics.<\/p><\/div>\n

The final speaker, Manshur Zikri, in his presentation, explained the three points of bromocorah in film aesthetics: the frame of bromocorah, the framed bromocorah, and the framing of bromocorah. Zikri established the literature of Ong Hok Ham and Mochtar Lubis as the basic framework of bromocorah. In the context of the frame of bromocorah, the problem is concerning the translation of ideas into a visual language. The issue of language is investigated further and is no longer just about exploring the medium. In the context of the framed bromocorah, that is how filmmakers capture bromocorah, Zikri presented one of Cinema Novo’s films as the example, the film <\/span>Black God White Devil<\/span><\/i> by Glauber Rocha. Zikri presented a scene in the film as an example illustrating how cinema frames bromocorah. However, according to Zikri, in the post-New Order era when the regime was no longer a common enemy, bromocorah in the frame of Indonesian cinema was moving away from what was expected, it returned to the narrative. But according to Zikri, exploration of visual language was successfully presented again by Hafiz in his work <\/span>Alam Syuhada<\/span><\/i> (2005).<\/span><\/p>\n

\"\"

Hafiz is asking Edwin and Garin questions in discussion session.<\/p><\/div>\n

After the speakers presented their respective materials, Hafiz asked a question to Garin and Edwin about the paradoxical nature of bromocorah. According to Hafiz, this paradox has been reduced because it will end the events of the film. Hafiz asked whether, according to Garin and Edwin, this paradox emerged due to the practice of their filmmaking always deals with the socio-political situation of their own industry, or because they were looking for something more manageable. Garin then answered that he could not answer Hafiz’s questions with his position as a filmmaker. Film critics are considered more capable in answering the question as they are the ones able to analyze the practices of filmmakers in Indonesia.<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n[\/vc_column_text][\/vc_tab][\/vc_tabs][\/vc_column][\/vc_row][vc_row][vc_column][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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